Welcome to the web's only complete reference to Assignment: Earth (Æ).

This episode of the original Star Trek was intended to spin off into a series of its own.

Thanks to everyone who has written in. Your comments are always appreciated. This site first appeared on the net in 1998 – this is the seventh major revision – and its growth is due, in part, to those people who wrote in and said, "Hey, did you know…?" Well, no, no I didn't, but now I do, and thanks for your help. If you have info, please feel free to @ me.

– Scott Dutton

The Original Pilot Script : November 14, 1966

Gene Roddenberry developed the first version of Æ as he worked on Star Trek's first season, and pitched it to Desilu in a 47-page script.

Gary Seven is a man sent back in time from the 24th century, the only Earth man to ever survive the transit. His goal is to defeat the Omegans, a race of shape-changing aliens who have sent agents back in time to change Earth's history so they can defeat Earth in the future. Harth and Isis would be the primary Omegan antagonists. Roberta Hornblower is described as she appeared in the final episode, but as a 20 year old.

Seven's cover in the 1960s is The -7- Agency, a private investigations firm. We meet Roberta as she enters the office looking for Mister Seven. The gadgets from the final episode are here, including the servo, and a pair of working x-ray glasses. She sits down at the typewriter to leave him a note. Roberta had nearly been killed by a falling chunk of a building, and had been pushed out of the way by a woman who instead died. The woman looked very much like her, and Roberta found Seven's address on her body.

Seven and Roberta meet and come into conflict with Isis and Harth, setting up the series' premise. After their initial adventure together involving going back in time to reset a mishap and Roberta transporting instantly around to different locations, Seven tells Roberta he needs an assistant.

The Series Proposal : December 5, 1967

While developing the script, they also generated a 13-page series proposal.

Now conceived of as a Star Trek spin-off pilot, the new Æ had Roddenberry and Wallace selling themselves as individuals respected in the business who were teaming up for the series. They made the clear distinction that while futuristic like Trek, Æ would be set against modern-day 1968.

One of Roddenberry's strengths and benefits was to go to specialised individuals and organisations (like NASA) and ask them, "What if?" By going outside entertainment circles, he gave his work a depth and credibility that became a model for a better-informed process.

Some of the connecting-the-dots promotion of the series' ideas to already known commercial quantities is a bit funny to read now. Having done enough creative briefs and seeing the tell-tale signs in this proposal, I get the feeling studio execs have the same thought processes as other businessmen.

The First-Draft Trek Script : December 4–20, 1967

In the middle of Star Trek's second season, Roddenberry and writer Art Wallace reworked the Æ premise:

"Assignment: Earth is interesting in a sense," Wallace points out, "because I had gone to Paramount and pitched a series idea to them. They had said that Gene Roddenberry had come up with a very similar idea. So I saw Gene and we decided to pool the idea, which was about a man from tomorrow who takes care of the present on Earth. That was intended to be the pilot, although it was never made into a series. It was a good pilot and it's a shame, because I think if they had done it as a series with just Gary Seven, it would have been a very successful show."

Source: Captain's Logs: The Unauthorized Complete Trek Voyages.

There were some differences from the final episode in this version:

No black cat! Isis – either human or feline – is nowhere to be seen.

Gary Seven's transporter beam came from even farther across the galaxy than it did in the episode.

After Seven was confined in the Enterprise brig, he revealed his mission to Dr. McCoy, turning the tables on Bones by asking him to think like a doctor, not a mechanic.

Roberta London, recruited by Mr. Seven, was beamed up to the Enterprise for interrogation. The frightened Roberta was soothed by Uhura, who reassured her that she was still among Earth people.

About 30–50 per cent of the Seven-Lincoln-Isis story is not developed yet. It feels much more like a Trek episode with Seven and Lincoln as guest stars, instead of the back-door pilot it became. A lot of re-writing was done over the holidays by Art Wallace to deliver the episode we know.

The Final-Draft Trek Script : January 1, 1968

Notable changes from the final-draft script to the produced episode include:

The supplemental Captain's log which immediately follows Seven's capture where Kirk describes "A man in a 20th-century business suit. What is he? Not even Spock's…etc." was not in this script.

McCoy was to enter the briefing room scene earlier, with Kirk showing impatience with him to report.

Just before the Beta 5 says, "In response to nuclear warhead…" an exchange between Seven and the Beta 5 is cut:

Seven: Computer, how much longer?Beta 5: Useless questions will only prolong search.Seven: Are you a one-relay machine? Clear a circuit; describe present mission of agents 201 and 347.

Immediately following Seven saying, "That's the same kind of nonsense that almost destroyed planet Omicron IV," a line has been cut:

Seven: Balance of power won't work. The other side will launch still more, they'll end up with the sky full of H-bombs waiting for just one mistake.

The scene where we first see Roberta Lincoln was scripted to include Kirk and Spock in the background, following her. In the episode we see Roberta make a comedic entrance, and Kirk and Spock travel the same sidewalk a few minutes later.

When Seven poses as a CIA agent to Roberta, some of the dialogue was softened to make it a more friendly exchange. Originally, it was to be more combative, as it was in the first part of this scene.

After Seven transports out from his vault, the scene with Kirk, Spock and Roberta has been restructured. The three were scripted to come into Seven's private office together, they weren't aware of the vault transporter, and it was Spock who found the map of McKinley Base. In the episode, Kirk rushes into the office alone, sees the vault close before he can reach it, and brings the map back out to Spock and Roberta in the outer office.

During the scene with Sergeant Lipton phoning in the security check on Seven, Isis was scripted to be following Seven. Knowing cats, this was most likely impossible to accomplish on set, and so Seven carried Isis and the unscripted line for Seven to put down the cat was necessary to have her under foot to finish the scene as written.

Seven and Isis on the gantry arm is unscripted, though what they're doing is detailed. As written, Seven and Isis walk out of the elevator in one scene, and in the next Seven is removing the panel. Perhaps Wallace did not describe the exact environment because he knew that it would depend on matching the stock footage supplied by NASA with the sets that Desilu would build in response, and that happened after the scripting process was completed.

The cigar box Roberta uses to konk Seven in the back of the head was originally scripted to be a heavy art object. Given Teri Garr whacked Robert Lansing with the small padded box hard enough for the actor to see stars, it's probably just as well.

The call from Scotty to Kirk about all powers being on alert was scripted for Spock earlier in the scene.

Roberta was to lower the servo on her own, rather than having Seven intervene. As shot, the scene works better, building trust between Seven and Kirk.

Roberta's plea to Kirk, "He's telling the truth." was to have another piece:

Roberta: A woman feels things about a man.Spock: A point against him, Captain. They are usually 100 per cent wrong.

Probably a good idea to have excised all that.

Kirk says, "Spock, if you can't handle it I'm going to have to trust him." As scripted:

Kirk (agony): Spock, it's all mankind at stake. No man should have to make this decision.

During the wrap-up, a whole piece of the scene was removed:

Kirk (glancing at Roberta): One other thing is needed to maintain history as it is supposed to go, Mr. Seven. A permanent secretary. (indicates) Our historical records indicate that one Roberta Lincoln resided at this address many years.Roberta: 'Resided'? Now wait just one minute, friend…Seven: Living here will be no threat to your 20th century moral code, Miss Lincoln…Seven: It's a separate adjoining apartment which was leased for Agent 201… You'd find it quite luxurious…

Much of this happens while Roberta is looking at the human Isis, and as such, it probably didn't work because everyone else's attention was on Roberta and they would have seen Isis too.

Seven: Can you use the apartment? It would be convenient for the new agents to have a secretary nearby.Seven (to Kirk): I expect to be replaced shortly. Your record tapes showed other names listed at this address. (waits, then frowning) They did, didn't they, Captain?Kirk: I afraid we can't tell you everything we've learned, Mr. Seven. (glancing at Roberta, back at Seven) It might change history if you knew too much.

The line Spock says about "interesting experiences in store for Seven and Lincoln" is absent from the script, and was most likely used to replace the longer explanation for a quicker and cleaner wrap up, and perhaps to leave things more open ended for how Æ might eventually be produced.

"Assignment: Earth" aired as the last episode of Star Trek's second season. It failed to generate interest, and the series never materialised.

Roads Untaken : 2013

Roads Untaken
PDF

Adam Riggio Ï is a writer/philosopher, and he created a series of posts for his blog on his version of an Æ series. Fascinating stuff.

Available as a PDF above.

Media

Episode

Star Trek
Episode 55 VHS
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Star Trek
Volume 28 DVD
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Star Trek
Season 2 DVD
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Star Trek
Season 2 Blu-Ray
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The episode has been released as part of the numerous video series by Paramount/CBS. The remastered version can also be purchased as a download through iTunes Ï and Amazon Ï. The trailer is below.

Servo

Setting the Servo
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Antennae Extended
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The Original Servo
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Replica Servo
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The Star Trek Experience
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The first servo appears to be the original prop. The antennae are curved and the knurled rings are flush with the barrel. It has a chromed finish.

The second is a typical replica made for the collectors' market. The antennae are straight and the knurled rings are raised.

The last is from the Star Trek Experience in Las Vegas, and is a third version of the servo.

Map and IDs

Roberta's Dress

It was very bright
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Roberta Lincoln's distinctive dress was a sore spot for actress Teri Garr. The dress' hemline started out being more modest, but the powers-that-be kept that hem rising until it was almost a micro skirt instead of a mini.

"This dress was important since it was worn by the Roberta Lincoln character, who was intended to be the co-star of a new television series. The mid Sixties are reflected visually whenever Roberta appears. The colours and material [William Ware] Theiss used for this dress, although mildly psychedelic, are really quite mainstream for the time."

Source: The Star Trek Sketchbook: The Original Series.

Set Blueprints

Seven's Office
PDF

This started out as me wanting to re-create the set plans for the episode and it quickly got out of hand. The script called for an attached apartment Roberta would live in, so that was next. And with Seven and Isis remaining on Earth, they'd need more space.

Available as a PDF above, with layer control to focus on different details.

Behind-the-Scenes Info

Star Trek Giant Poster Book 9
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The Star Trek Compendium
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The Star Trek Files 9
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Starlog 149
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Starlog 173
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Captain's Logs: TheComplete Trek Voyages
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The Star Trek Sketchbook:The Original Series
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Speedbumps: Flooring It Through Hollywood
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Adaptations

Star Trek 3
Bantam Books, 1969
ePUB

Star Trek 3
Bantam Books, 1969
KF8/MOBI

Assignment: Earth
Catspaw Dynamics, 1998
ePUB

Assignment: Earth
Catspaw Dynamics, 1998
KF8/MOBI

James Blish adapted the episode as one of the stories included in the Star Trek 3 anthology. In his version, the Trek characters dominate. When I came to do mine, I went in the opposite direction, writing the story from Seven, Isis, and Lincoln's point of view, leaving out the Trek crew's scenes which didn't include the Æ characters.

Both are available as ebooks above in ePUB (iBooks, etc.) and KF8/MOBI (Kindle) formats.

Fiction

Star Trek 3
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Assignment: Eternity
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The Eugenics Wars 1
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The Eugenics Wars 2
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Strange New Worlds III
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Strange New Worlds VI
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Strange New Worlds VIII
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Strange New Worlds IX
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Strange New Worlds X
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The original series episodes were adapted into short story form by noted science fiction author James Blish (Cities in Flight, etc.), with Æ appearing in the third volume.

The three novels have been authored by Greg Cox. While one might hope for an Æ project that isn't tied to Trek, we'll take what we can get. Assignment: Eternity is fun and involved, and we get to see a possible outcome for the team of Seven and Lincoln.

The Eugenics Wars pair open in 1974. Gary Seven watches with growing concern as the children of a top secret human genetic engineering project called Chrysalis grow to adulthood. In particular, he focuses on a brilliant youth named Khan Noonien Singh. Can Khan's dark destiny be averted, or is Earth doomed to fight a global battle for supremacy?

The Strange New Worlds series is an annual collection of fan fiction. Each of these volumes contains a story with Gary Seven as a major or supporting character.

DC Comics

Star Trek 49
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Star Trek 50
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Star Trek: Revisitations
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Beginning in the 1980s, DC Comics held the licence to publish Star Trek comic books. Previous publishers included Gold Key and Marvel Comics. However, DC produced a consistent, high-quality product, and the books remain fan favourites.

To celebrate the 50th issue of Star Trek, they decided to bring back Gary Seven. An interesting story, it adds some new elements to his tale.

Veteran comic book artist and writer John Byrne Ï produced a five-issue mini series (also collected in trade paperback) which showed his version of what an independent Æ series might have been like.

Alternate Credits

These credits sequences were made by Andy Patterson Ï and friends, and are ideas for a non-Trek opening for Æ. They combine episode footage with new pieces.

Video Vignette

This video – with Roberta Lincoln and the Beta Five desk cube – was made by The Outer Rim Ï (formerly Star Trek Anthology).

It has been a number of months since Miss Roberta Lincoln has been working for Agent Gary Seven. Her duties have tended to consist of 90 per cent boredom, 10 per cent chaos. In this vignette, we get a glimpse of that 90 per cent, but all of that is about to change…

Mego Action Figures

Mego Seven, Roberta and Isis
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Mego Gary Seven and Isis
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Mego Roberta Lincoln
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Mego Gary Seven Head
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Mego Roberta Lincoln Head
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These fantastic custom figures were made by James "Captain Dunsel" Brady and are featured on his Mego MadhouseÏ website.

Playmates Action Figures

Playmates Seven, Lincoln, Isis and Beta 5
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Playmates Beta 5
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Playmates Gary Seven and Roberta Lincoln
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Playmates Gary Seven and Roberta Lincoln
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Playmates Seven, Lincolnand Isis
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Playmates Isis hanging around
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Playmates Beta 5
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Playmates Seven, Lincoln, Isis and Beta 5
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Playmates Seven, Lincoln, Isis and Beta 5
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Playmates Gary Seven
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Here's another set of nicely-done custom figures. Seven, Lincoln, Isis and the Beta 5 done in the style of the Playmates line by customiser Matthew Hackley Ï. And check out the Sixties orange shag carpet.

These photos and info come courtesy of James Sawyer's A Piece of the ActionÏ blog.

Poster

Episode Poster
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CBS commissioned Juan Ortiz Ï to create an original print for each Star Trek episode.

Trading Cards

Gold Plaque Card G55 (front)
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Gold Plaque Card G55 (back)
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Card 137
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Card B110 (front)
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Card B110 (back)
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Pin

Episode Pin
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Cast

Robert Lansing
Gary Seven

Teri Garr
Roberta Lincoln

Victoria Vetri Rathgeb
Isis the Woman

Barbara Babcock (voice)
Isis the Cat (Sambo)

Barbara Babcock (voice)
Beta 5 Computer

Don Keefer
Launch Director Cromwell

Morgan Jones
Colonel Nesvig

Lincoln Demyan
Sergeant Lipton

Ted Gehring
Police Officer 1

Bruce Mars
Police Officer 2

Bartell LaRue (voice)
Mission Control Announcer

James Doohan (voice)
McKinley Base Announcer

Paul Baxley
Security Chief

William Shatner
Kirk

Leonard Nimoy
Spock

DeForest Kelley
McCoy

James Doohan
Scotty

Nichelle Nichols
Uhura

George Takei
Sulu

Walter Koenig
Chekov

Robert Lansing

The Great God Brown
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87th Precinct
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12 O'Clock High
PDF

Namu, the Killer Whale
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The Man Who Never Was
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1967 Buick Catalogue
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Assignment: Earth
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Empire of the Ants
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The Equalizer
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Starlog 149
PDF

Robert Lansing had already established himself as a stage, movie and television actor in leading roles when Gene Roddenberry asked him to appear in this back-door pilot. In the interview below, he speaks about his Assignment: Earth experience, and the bio goes into detail on his entire career.

Join the Robert Lansing group on facebook Ï. Lansing also has IMDB Ï and Wikipedia Ï entries.

1989 Interview

In 1989, Lansing reminisced about his Star Trek turn:

Approached by Gene Roddenberry to guest star as Gary Seven in "Assignment: Earth," Robert Lansing at first refused.

"At the time," he confides, "Gene was a good friend, but I was a New York snob actor, come out to Hollywood. Many folks in my self-perceived position didn't do Star Trek because it was considered a kid's show, or a young show at any rate. Gene said, 'I'm writing this for you and we can play with it. It might be a series.' He said, 'Well, you don't have to, but just do this one thing for me.' So, I did. It was a damn good script and a lot of fun.

"What Gene had done," Lansing continues, "was to go to futurists and scientists and ask them what advanced societies out in space might do towards more primitive societies like ours.

"One of the futurists said that they would probably kidnap children from various planets, take them to their superior civilisation, raise them, teach and enlighten them, and then put them back as adults to lead their worlds in more peaceful ways. That was the idea behind Gary Seven.

"The fun with that show," he discloses, "was working with the cats." With obvious pleasure, Lansing confesses that whenever he meets fans, he always asks them, "What was the name of my cat?"

"We had three black cats. That was because in those days, the theory was that you couldn't train cats. Cats would have a certain propensity: One would like somebody, would want to follow them around, so that day, you would release the cat that would probably do what you wanted it to do. One of the cats took a great liking to me. It was always loose on the set when I was working, so it happened that the stuff on the rocket gantry was all ad lib. I would say something like, 'Isis, come on, you're getting in the way. You know, there is a bit of a hurry. This is not the time to be jealous.' We added meows in later."

Not a practical joker himself, Lansing confirms that the Star Trek set was still full of fun and pranks. "William Shatner and I would get mixed up and start 'camping' a scene," he remembers. "We did plenty of outtakes."

Of his fellow guest, Teri Garr, Lansing recalls, "She hadn't had much experience then, but she had this kooky personality that certainly worked. Gene saw that very early on and dressed her for it and worked her with it.

"She had a terrible time with this bit where she had to hit me with a box and knock me out. It was a small box and it was padded, just a box. She was so nervous that finally I said, 'Teri, hit me.' And she gave me such a clobber that she nearly did knock me out. Gene said it didn't look right and we had to do it again.

"I was never asked to do another episode. That was my Star Trek swan song.

"It turned out, though, that I'm better remembered for Star Trek than any of the Broadway plays I've done," he says with a bemused smile.

Source: Starlog 149. The full interview can be read by clicking on the thumbnail above.

Biography

The following biography was written by Jeanne DeVore Ï, who was kind enough to grant me permission to reprint it here. It was written as a tribute and to help raise money for cancer research Ï.

Robert Lansing was born Robert Howell Brown on June 5, 1928, in San Diego, California, and died October 23rd, 1994 in New York of the cancer he had been suffering from for some time. His career spanned more than a generation, in film, on stage, and on television.

Born at the dawn of the Great Depression, Robert Lansing's early years were spent traveling around the country with his salesman father. When he was nine, he snuck under a loose flap into a visiting tent show in Texas and fell in love with the make-believe world of the theatre. Determined to become an actor, he volunteered for his grammar-school play, and immediately began driving himself with total commitment.

Back in California a few years later, he kept polishing the dream, appearing in every amateur theatrical he could. He dropped out of high school to enlist in the army, served his two years, and started hitchhiking from Los Angeles to Broadway.

Stopping in Fort Wayne, Indiana to visit an aunt, he became an actor with a local civic theatre group, a radio announcer, and a teen-age husband. Two years later, the Lansings took off for New York. Using his GI Bill benefits, Robert enrolled at the American Theatre Wing's dramatic school.

These were lean years, as he struggled to make a living. He and his first wife divorced, and he married actress Emily McLaughlin (best known as nurse Jessie Brewer in General Hospital).

Soon after, their fortunes changed. Cast as the psychiatrist in Tennessee Williams' Suddenly Last Summer, Robert Lansing was named one of that season's two best off-Broadway actors (the other was George C. Scott). That success led to his first Hollywood TV part in Alcoa Presents.

His first Broadway role was in 1948 in Stalag 17, and his first feature film was 1959's The 4-D Man. His career encompassed all genres, though he was well-known to science fiction fans through his appearances in cult films like Empire of the Ants, and his appearance as Gary Seven in the Star Trek episode "Assignment: Earth."

Lansing's television work won him critical acclaim, if not financial success. Of his role as Detective Steve Carella in the series 87th Precinct (based on the books), author Ed McBain was reported as saying, "He is Carella." And his replacement as the lead in the series 12 O'Clock High caused a great deal of furor. TV Guide critic Cleveland Amory, who liked to refer to himself as a curmudgeon, wrote, "Make no mistake about it. Robert Lansing is magnificent."

Robert Lansing's final television role was that of Police Captain Paul Blaisdell, on the series Kung Fu: The Legend Continues. Executive Producer Michael Sloan, who had been friends with Lansing since both men worked together on Sloan's series The Equalizer in the 80s, wrote the part expressly for Lansing, who had already been diagnosed with the cancer which would eventually kill him. Despite failing health, Lansing appeared in almost two dozen episodes during the series' first two seasons. But eventually, the strain became too much. The final episode of the second season "wrote out" the character of Blaisdell, though left the door open for his return, should Lansing's health rally. As it was, the episode "Retribution," filmed in February of 1994, was Lansing's final appearance. It aired a month after Lansing's death and was dedicated to his memory.

Biographical information source: "The General Died at Dusk," Jerry D Lewis, TV Guide, May 15, 1965. The full interview can be read by clicking on the thumbnail above.

Teri Garr

Pajama Party
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Assignment: Earth
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Young Frankenstein
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Close Encounters
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Tootsie
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Friends
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Teri Garr
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Kabluey
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Teri Garr started off as a dancer, but it was this early acting appearance as Roberta Lincoln that set her on her future path.

After Assignment: Earth, Teri Garr went on to become a star. Her films include Young Frankenstein, Close Encounters of the Third Kind and Tootsie. She also played Phoebe's mom on Friends. In 2002, she went public with her battle with multiple sclerosis.

1991 Interview

In a 1991 interview, Teri Garr expressed a negative opinion of her Star Trek experience:

Teri Garr appeared in "Assignment: Earth". However, Garr responds, "I have nothing to say about it. I did that years ago and I mostly denied I ever did it." She does admit that she would have been in the TV series that the episode was a pilot for, but it didn't sell. "Thank god," she says with genuine relief. "Otherwise, all I would get would be Star Trek questions for the rest of my natural life – and probably my unnatural life. You ever see those people who are Star Trek fans? The same people who go to swap meets."

How about Marc Daniels, who directed that episode? "He's dead. I liked Gene Roddenberry, but I don't remember those people. I really don't want to talk about Star Trek. That's what I told them about this interview. If it's a science fiction magazine, they're going to ask me about this stuff I don't—" She breaks off abruptly. So much for that line of inquiry.

Source: Starlog 173.

2005 Autobiography

In her 2005 autobiography, Garr took a more neutral position:

And then I got my first big break as an actress. A friend in my acting class told me that they were casting a guest role on Star Trek.… This role was supposed to spin off into its own series – Assignment: Earth. It was going to be tough to get an audition – all the big agents were clamouring to get their clients seen, and my agent wasn't in that league.…

Luckily my friend from acting class had an in and helped me get through the door. I never thought I would get the part because I was still really just a dancer.… I had no real credibility as an actress.… Then I read the script and saw that in the first scene my character was flustered because she was late. I thought: Well, I'm always late. I can do late. After I did the reading they asked me to come in for a screen test. I'd never had a screen test before! They cut my hair short and put me in front of a camera. They had me turn in a circle very slowly. Then they asked me easy questions.… I was overjoyed to be having a screen test. I didn't dare hope I'd get any further, but the next thing I knew, they were calling me to appear on set. I was dizzy with joy – and that dizziness helped me get into character.

…Had the spin-off succeeded, I would have continued on as an earthling agent, working to preserve humanity.… But it was not to be.

Source: Speedbumps: Flooring It Through Hollywood.

Victoria Vetri

Playboy
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Assignment: Earth
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Batman
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Rosemary's Baby
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When Dinosaurs Ruled Earth
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Attempted Murder
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Vetri – also known as Angela Dorian – played Isis the Woman in the fleeting cameo she had in Æ. She appeared in many small roles in movies and on television in the 60s and 70s, including: Rosemary's Baby, The Invasion of the Bee Girls, Hogan's Heroes, Perry Mason, Bonanza, The Man from U.N.C.L.E. and The Courtship of Eddie's Father. She was also Playboy Playmate of the Year 1968.

In 2010, she was charged with the attempted murder of her husband (see articles below). She was found guilty and is currently serving her sentence.

There is a Victoria Vetri facebook page Ï run by a friend of hers. His posts are focussed on her career and her current circumstances.

1983 Interview

An Interview with Playboy Playmate Victoria Vetri

In 1983, I interviewed actress/Playboy model Victoria Vetri for Bill George's book Eroticism in the Fantasy Cinema. It was the second interview I had ever done up to that point. The big deal for me was that I was actually speaking to a Playboy Playmate; the dream of every red-blooded American male who ever perused an issue of Playboy.

Tory, as she preferred to be called because she didn't like the name Vicki, was charming, engaging and generous with her time. My tape recorder had malfunctioned and she very kindly agreed to do the interview over again the next evening. During our second interview, Tory asked if she could change her answer to a question I had asked concerning Roman Polanski, who directed her in Rosemary's Baby. Her original answer was, "I'm just glad he's out of the country," in reference to the statutory rape case during which he fled the country to avoid a lengthy jail sentence. She changed her comment to, "I think he is a very creative director."

Prior to interviewing Tory, she told me an amusing story concerning the making of When Dinosaurs Ruled the Earth. When it came time to do the scene where she comes out of the water with a fish in her mouth, the director, Val Guest, had Tory put an actual dead fish in her mouth. To add insult to injury, the director did a number of takes, as Tory emerged from the water with the dead fish clenched between her teeth. Ever the trouper, Tory did the retakes without complaining. As you can see, being an actress isn't all glitz, glamour and adulation.

I felt a sense of sadness as I read on the various news websites the details concerning Tory's trial (in 2011) for shooting her husband of 25 years, Bruce Rathgeb, because she felt he had been cheating on her. Luckily he survived, but Tory was sentenced to nine years in jail for attempted murder. The story received cursory attention but not much more than that. After all, 44 years has elapsed since her appearance in the magazine and Tory hasn't acted in films or on TV for almost the same amount of time. To the jaundiced public, it was a mildly interesting story concerning the downfall of a former Playboy Playmate to be read about and forgotten in a day or two. Such is the attention span of John and Joan Q Public.

JV: Was Rosemary's Baby your first feature film?

VV:Rosemary's Baby was my first feature. I got it because Mia Farrow refused to test with the actors. She didn't want to be bothered doing that menial stuff, so Roman Polanski said, "By the way, how do you look in dark hair and can you look Italian?" I said, "Well, I am Italian." He said, "I'd like you to play the part of Terry Fionoffrio, Angela." I said, "Okay," and I played the part under Angela Dorian, my fictitious name. On the set one day he said, "Angela, we cannot use the Anna-Maria Alberghetti name. Can you think of an Italian name?" I said, "How 'bout Victoria Vetri?" He said, "That's fantastic! What an imagination!" I said, "That's my real name." He said, "My God, why are you using that name of a sunken ship, The Andrea Doria? I think Victoria Vetri has more of a– ah, what the hell, it's Italian."

JV: Was Playboy magazine responsible for you getting the part in Rosemary's Baby?

VV: No. Playboy really had nothing to do with me being in the film one way or another. Because by the time Playboy came out, I had already done the part. Because they mention that in my credits. I had 26 TV shows, all lead parts, under my belt, plus Rosemary's Baby, plus movies for TV. But they somehow made it sound like they discovered me. Which upset me at the time.

JV: Do you think that Playboy in any way helped your career in a positive direction?

VV: I think at one point in my career, it hindered it. I could have been a serious actress and all of the sudden it was like I was a thing, I was a commodity, I was a Bunny, I was a Playmate, and I played nothing but hookers. The types of roles that I went up for were not serious parts. I mean, I'm not saying that you can't play a serious hooker. Look at what Jane Fonda did in Klute. It's changed a lot. I was one of the first actresses to do Playboy. Then Claudia Jennings did it after me. I was very close to her and felt great remorse when I lost her in a car accident. I had to entertain that night. I had to sing with a rock group and I couldn't go on stage when I found that out. We had to give people their money back. Claudia and I did a film together called Group Marriage. She was a superb actress who was coming into her own and she was a loyal friend. A very creative lady. And I think she was one of the best friends I ever had. The only person I got close to through Playboy and it was a big loss.

JV: From what you told before this interview, I guess you're one of the few people actually born and raised in California?

VV: Very few. I mean, when I used to bartend between acting jobs I say, "I'll give a free drink to any native Californian who can prove they're a native." And I was the only one in the bar.

JV: How did you get the part in When Dinosaurs Ruled the Earth?

VV: Hammer (Hammer Films, the English studio that produced a number of horror classics from the 1950s through the 1970s) located me through my agent. They had just done a film with Rachel Welch called One Million Years BC. They'd seen me in some film, some magazine, it wasn't Playboy, and they said, "Let's do a test on her." I was obligated to Warner Brothers at the time and Francis Ford Coppola did a test of me running through the backs of the lot with a tiger bikini on panting and grunting, flaring my nostrils. Then we did another thing with me singing in front of a sky background with my guitar. They sent the test to London and Aida Young, the executive producer said, "Send her over." It was shot in the Canary Islands and at Shepperton Studios. It was about six months work. It took a year and a half for the film to come out. By the time I got to the Bahamas to see the film they couldn't show it, because the colour matching was all wrong. So it took two years for the film to come out. It won an award for best special effects.

JV: Did you find it hard reacting to imaginary dinosaurs?

VV: Yes, but I got used to it. I have a great imagination. After a while, they gave me a focal point. They'd say, "Look up here," at this guy on a ladder and I would pretend like I saw this imaginary thing. I could see some rushes where they were putting in animation.

JV: In a book titled Hammer House of Horror, there are stills from When Dinosaurs Ruled the Earth which show you in the nude. Where these stills from scenes that were deleted from the version shown here domestically?

VV: No. These were publicity shots. Because once Playboy found out they were in the Canary Islands doing a film and I was scantily clad, they sent a photographer over there. They said, "We'll pay you X amount of dollars to do stills because this would be good for our article 'Sex in the Cinema.'" I said, "Ok." Two weeks after we were there, the director (Val Guest) left his wife. He was sleeping with the script supervisor. It was like you could have made a movie within a movie. Everybody was screwing around. People were skinny dipping, drinking sangria instead of tea at four in the afternoon, getting drunk on their asses and it was like party time. Three or four in the morning they'd say, "You have to be up at six for a sunrise shoot? Let's stay up all night!" The sad part was when we came back to England and there the wives are, they've gotten letters from their husbands that have fallen in love on location saying, "It's over. It was getting old anyway." Here's the wife pouting and holding the child in hand as he gets off the airplane. The director, Val Guest, comes off the plane arm in arm with the script supervisor who he fell in love with and ended up marrying, by the way. So it was like a little mini soap opera. Because you throw these people together and the English are wild and crazy once you get them in a loose environment. But to watch them drop their façade of properness and say, "Ah, I'm free." Of course, having a California girl around didn't help because I was the first one to drop a loincloth. And all the girls between shots were getting a tan. After a while it didn't faze anybody. When you're all sitting around half naked it doesn't matter. That was quote "a family." I'm still getting letters from a lot of people I worked with on that movie. When the film came to an end they were crying, "Oh, I don't want you to go back to America. Stay in touch." That's the closest I've ever come to a family situation working with a film company.

JV: I was surprised when you told me that Invasion of the Bee Girls was made by Warner Brothers. I always thought it was the product of an independent company.

VV: I think an independent company got a hold of it. But Saul Weintraub, who worked for Warner, wanted me to fulfill my obligation since I couldn't do Enter the Dragon. Now, I'm thinking about this carefully because my agent who handled this is now retired. Warner and Hammer did When Dinosaurs Ruled the Earth together. This was a Warner Brothers and independent production and I think they finally released it to the independent company. And from what you told me, someone else has bought it now and released it under another title. But my paycheque said Warners on it.

JV: For television and videotape the title Invasion of the Bee Girls is still used. But it was re-released as Graveyard Tramps.

VV: (laughs) Graveyard Tramps! Oh my God! I liked the shooting title The Honey Factor. It sounded more sci-fi.

JV: I didn't see Invasion of the Bee Girls when it was first released, but saw it at a drive-in under the new title and thought it was a fun film.

VV: I think it's kind of fun. I mean, it's so ridiculous it's funny. I had fun making it. Unless something really spectacular comes up in my career to make me do another horror movie, I have to be honest, I don't want to end up being a horror queen in films. I'd like to branch off. I'm trying to get a rock group together and get a video out, pursue my singing and maybe do some serious acting. I'm not saying that one cannot do serious acting in horror films. I saw a short today on cable. It was about Tobe Hooper who did The Texas Chainsaw Massacre, now he's done Poltergeist. When The Texas Chainsaw Massacre came out, people thought that without even showing too much, it was the most terrifying film ever and then he got money behind Poltergeist. But I for one do not go out of my way to see horror movies. If Friday the 13th is on cable, I will turn it on. But I won't go pay $5.50 to see it at a theatre. The one I loved, I saw it three times, is Alien. Is that considered a horror movie? That I would've done in a minute. If they'd come to me and said, "Hey,you want to play any part? Do you want to play the alien?" I would've said, "Sure!" (imitates an alien screech) I'd come bursting out. (does another alien screech) That I would've enjoyed.

JV: When you did the recent "Playmates Forever" spread in Playboy, did you do it because, going back to one of my first questions, you'd be working again with the much touted Playboy family?

VV: No. What happened was, I was a waitress and bartender at the time and a lady came in and said, "Are you Victoria Vetri?" I said," Yes." She said, "We have been looking all over for you." She handed me her card from Playboy and said, "We're doing a reshoot of 'Playmates Forever.' Would you be interested?" I said, "First of all, how much?" She said, "Well, a thousand dollars for half a day's work." I said, "I'll think about it," playing real hard to get because at this point I had already established that I hated Playboy and everything it stood for. And then my agent said, "Well, it can't hurt." I said, "Okay, on one condition. I did Playboy BP – before pubic. I'm not going to show any frontal nudity. I want it as modest as I can have it and I refuse to pose as if I'm visiting my gynæcologist like those other girls." So they said, "Okay, fine." I got what I wanted. I really don't have the hostilities that I used to have about Playboy.

JV: What in your opinion qualifies as the most erotic moment in any movie that you've seen?

VV:Wifemistress with Marcello Mastroianni. I changed my mind from last night. Swept Away came off the top of my head. Wifemistress has everything in it: voyeurism, eroticism, emotional, sexy; it's done in good taste. It's Italian, of course, and I think you can relate to that.

JV: You did a hair oil commercial in which you sang a song with the line, "I like it long." Was this commercial banned from TV because it was considered too provocative?

VV: That was for Groom and Clean. It was a double entendre. They didn't take it off the air. It kind of wore its way off the air and I was the first girl on TV to wear hot pants and boots. At first, I got it for my voice over, because I sing. The song was something like: (sings) "Ooh, I love it long. Just as long as you spray on Groom and Clean. Yeah, I love it long." That's what the little jingle was. We did different variations of it, like, he was going to get a haircut and I walk in and say, "You cut off one lock of his hair and I'll melt your scissors." Then I go into this little song and dance. Then we did one where he's driving away in a XKE and I put my foot on the bumper and I say, "Cut off one lock of that hair and I'll strip your gears." I did about three of those commercials. They got good airplay and they were supposedly racy for TV commercials. They're very liberal now, but that was the start of TV commercials being liberal. If it was banned I never knew about it, because it was a long, long time ago.

JV: Do you feel that horror films exploit women in a negative fashion? I mean, relating to the ones you've been in?

VV: Well, let me think now. I mean, we're all victims. I think I've mentioned this before, but somebody has to play the role. It depends on the film really.

JV: For example, in Invasion of the Bee Girls didn't you think that the attempted rape scene was a bit gratuitous?

VV: Yes, I thought they could've done without that. But, they write the attempted rape scene and I do it. This is funny, I guess I don't feel exploited because it's just acting to me. I mean, I've seen a million dramas where women are being exploited and they aren't horror movies. Women have been in that role for years. Just because all of the sudden the Eighties come and women are going to start being independent doesn't mean they're going to change the rules. Because we are the weaker sex and there's nothing you can do about that, really. I don't care how much iron you can pump or how macho you are.

JV: Do you think the women's movement has a right to complain about these issues and say to the movie producers, "Hey, you shouldn't show this because it's not a very positive image?" A lot of them are also afraid that some strange guy is going to see this kind of film and get ideas.

VV: But, guys get ideas from everywhere, not from film. There's influences even in soap commercials for God's sake. The women's movement bugs me, I guess. Let 'em move. The big BM. I guess I'm just not on that side. Most of my friends are men. I get along better with men. I feel sorry for women. Now, I'm going to sound like a female chauvinist. I 'm not into the women's movement. They can complain about this, complain about that, but people are going to be influenced no matter what. To me, it's just an acting job. And if I really felt like I was endangering the female species by doing scenes that I do in films, then I would not do them. I mean, it's a fantasy, it's a trip. People take film so seriously, I can't believe it.

JV: After you did the Playboy spread and became Playmate of the Year, what was the reaction of your family and friends?

VV: My family wasn't too upset about it. My father being from Sicily and kind of old fashioned, was still an ass pincher. So he was kind of proud of it. He had different parts of the magazine that he framed and put in his restaurant. You know, head shots and all. He'd say, "Hey, that's my daughter. Say anything about it and I'll kill you." My mom did pinups when she was in Rome. She was quite a sexy dish and also an actress. She told me she did calendars in her day and that if I did it modestly, she explained to me that it's like the face is a diamond and the body's a setting and, "You've got a good setting so show it off, girl. Go for it." (laughter) So I did. My parents weren't upset about it or prudish, no.

JV: Do you find that Hollywood, located in the Los Angeles area, has a more lenient attitude towards this type of thing than if you lived somewhere else?

VV: Of course. The Midwest, let's face it, that could never happen there. I think it's the weather here. I really do. (laughs) The warm, hot climate hits the sun, makes us all crazed and then we have to drink beer and stuff to cool off. It's a very perverse place, Hollywood. But, I was born and raised here and I love it and it's my town. There's perversity all over, just more people hide it in the closet. They don't display it all. Here we let it all hang out.

JV: Knowing what you know now, after all of the things you've gone through, if you could go back, what would you change?

VV: Nothing. I would do it all again. The highs, the lows, the ups, the downs and believe me there's been a few lulls in my life, too. But right now I'm up and I wouldn't change a thing. I know that sounds very egotistical. I used to complain about Playboy. If you had asked me that a couple of years ago I would've said, "I wouldn't do Playboy. That's the one thing I wouldn't do again." But now I've changed my whole attitude about that. So now I've narrowed it down to nothing.

2010 Attempted Murder

Victoria Rathgeb: Prosecutors charge 1968 Playboy Playmate of the Year with attempted murder

LOS ANGELES – The 1968 Playboy Playmate of the Year has been charged with attempted murder after Los Angeles police said she shot her husband of 20 years this weekend during a dispute, authorities said Wednesday.

Victoria Rathgeb, 66, is due in court November 1st, 2010 to answer to the charge that she intentionally shot her husband with a semiautomatic handgun.

Rathgeb, being held in lieu of $1.5 million bail, was arrested Saturday after police said they responded to a reported shooting at an apartment in Hollywood.

Her husband, identified as Bruce Rathgeb, is in grave condition at a local hospital, according to Los Angeles Police Department Lt. Bob Binder.

2010 The Bail Agent

From Playmate to Inmate

And just when I think I’ve seen it all, something or somebody always makes me re-evaluate myself. On October 17, 2010, I got a call from an attorney to visit a potential client at the Van Nuys jail. He told me that the person in custody was his friend of many years and wanted me to see if I could help her out. The attorney gave me her information and said that she’d allegedly shot her husband in the shoulder.

I arrived at the jail and asked the jailer for the bail information on Victoria Rathgeb (also known as Angela Dorian). I told the jailer that I also wanted to visit her.

The jailer was surprised and told me, “You know what she’s done, right?”

I said, “Yes, I know she ‘allegedly’ shot her husband.”

The jailer gave me the bail information and sent me to the visiting room. I waited there until Victoria was brought out to meet with me. I saw a 66-year-old woman coming into the visiting room; she had shoulder-length and wavy white hair. She looked very petite and fragile. I’m sure she didn’t weight more than 100 pounds. But… what grabbed my attention immediately was the fact that she was very beautiful! I’ve visited elderly people in custody before, so I wasn’t surprised about her age, but once she began to talk to me and the way she carried herself; I knew then that she definitely didn’t belong in custody.

I introduced myself and we began talking. She told me that she and her husband Bruce got into an altercation. She showed me her bruises and marks on her forearms and also a few cuts on her chest and neck area. She said that they both had been drinking alcohol the night before. Then her husband approached her to hit her again. She grabbed the gun they kept in their room and claimed she didn’t remember anything after that. It wasn’t until the LAPD Homicide detective Kevin Becker began to interview her that she realized what she had done. She told me that she had posed for Playboy when she was younger and had done a few movies. I honestly didn’t know who she was. I wasn’t even born when she was a Playboy Playmate in 1968. She actually wanted me to get in contact with Hugh Hefner to see if he could help her to bail out of jail. I finished talking to Victoria and then off I went to call the list of people she gave me.

Victoria Rathgeb was arraigned in court for attempted murder on October 21, 2010 and transferred to the Women’s County Jail (CRDF) in Lynwood, CA.

On November 7, 2010, I went to visit Victoria at the jail and needless to say, that place is so sad. The jail is located off the 105 freeway towards LAX. I exited the freeway and as soon as I did, I realized that I had entered a very dark and depressing neighborhood. I drove to the parking lot and finally went inside to visit Victoria. The building’s lights inside the visiting area were dim and the walls of the place are painted white but with the poor lighting they look grey. The floors were literally just cement. What? No tile flooring?!?! The visiting area was full of families with lots of small kids. I found the elevator and as soon as I entered, I was overcome by a foul smell. Gosh! I almost barfed! I couldn’t get off fast enough! I think I ran out of the elevator! I finally got to the interview room and waited for Victoria until they brought her out.

I’m a bail agent, but sometimes I become a counselor or an advisor. I listen to the inmate’s concerns, family issues, previous life experiences. After all of those roles, I have realized that we are all connected somehow… It still amazes me every time I go inside an interview room, pick up the phone and hear the other person’s perspective. At this point, I’m the only contact that they have with the outer world. On this particular day, I expected to find a depressed 66-year-old ex-Playboy Playmate, who after a life of fame, wealth, popularity, beauty, etc., was now in jail for attempted murder on her husband. Yeah, the media talks about that, but there are always two sides of the story! I saw with my own eyes the very first time I met with her, her injuries on her arms, the bruises and cuts she had. Don’t get me wrong, her husband almost died, but nobody else other that the two of them know what really happened in their home on that night. We’re shouldn’t try to judge.

Victoria was finally brought in, and when she saw me she smiled from ear to ear! She looked so healthy, relaxed, mentally well and joyful. I was like, “What? This must be a joke!” I was expecting someone depressed! We began talking and even though she hadn’t seen me in a while, she remembered me. She told me that since she’d been in jail her jail mates were very kind to her, that she was getting the right medications, she was attending therapy groups and she was getting clean and sober. Sometimes, we as people just need time to heal, to get stronger, and to take that opportunity to change our lives, or our behavior or both.

She also told me that they were so many wonderful people – complete strangers – who had put money on her books. She was visited by several movie producers and book editors because they were interested in her story. In fact she was writing a journal while in custody. At the same time she remained well aware that she was going to do some serious time for what she’d done. She looked so happy I couldn’t believe it. I guess in jail she’d finally got away from the person and the situations that were making her life spin out of control. She then sang to me in Italian!!! She showed me that at 66 she can stretch her leg as high as her head. That was really cool! I wish I could do that!!! I had such an awesome time conversing with her. She shared life experiences that I have also gone through myself. Once again, this is the part where we are all connected at some point. By the time we finished our conversation, my heart felt so happy. I had shared some laughs and jokes with someone that needed them… I’m still trying to decide whether it was her or me that needed that experience.

I walked away from the interview room and headed back to the elevator, dreading the thought of getting in it again!!!! Disgusting!!!

I got in my car and suddenly I felt a deep sadness. The location of this jail alone would bring anyone down. I’d been inside so many jails; I thought I was immune to this stuff already. But I was so shocked to see how much the life in this jail affected me. Homeless people sleeping under the freeway, the projects, the streets with pot holes, small kids at the waiting lobby, strollers, and babies crying… Gosh, I felt like crying too! I realized that I have opportunities to meet with others at different stages in their lives and try to make a difference. I took a moment to thank God for giving me the life I have and for putting these experiences in my path.

I did actually try to get in contact with Hugh Hefner last year. I was planning to camp out outside the mansion until he would let me speak to him. But Victoria’s best friend Francis had already contacted someone at Playboy Enterprises. Francis told me that Hugh Hefner was not interested in helping Victoria out. I’m pretty sure that if Victoria Rathgeb had been a 22-year-old blonde with double-D breast implants instead of a 66-year-old ex-Playmate, he would have helped her, right?

In the end, Victoria Rathgeb pled No Contest to attempted voluntary manslaughter in Los Angeles County Superior Court on September 7, 2011 almost a year after her initial arrest. On September 29, 2011 Victoria was transferred to the Central California Women’s Facility (CCWF) in Chowchilla, California to serve a nine-year sentence. She never was able to make bail. At best, barring some serious medical development, she will not get out of prison until after her 70th birthday.

I just wish that everyone who is in an abusive relationship would have the courage and pack their bags and leave their abusive partners immediately! I can relate to Victoria’s story, since I was myself in a very abusive relationship for many years. Some ask why we stay in those bad relationships. Well, we are scared of the unknown, plain and simple! We think that with time we can fix the problem. Maybe Victoria got fed up with the verbal and physical abuse her husband was putting her through and took matters into her own hands and maybe that was wrong.

But notice that the media hasn’t mentioned anything about what Bruce Rathgeb had done to his wife Victoria? He is just a poor guy who got shot. I saw with my own eyes the bruises on Victoria’s arms and the cuts on her neck and chest area. Nowhere in the news was that mentioned. I’m very sad that Victoria didn’t leave her husband Bruce sooner. In my opinion, Victoria deserves to enjoy her retirement years in the comfort of her own home and not in the women’s state prison.

2011 The Trial

Trial ordered for ex-Playmate in husband's shooting

LOS ANGELES – The 1968 Playboy Playmate of the Year was ordered Friday to stand trial on an attempted murder charge for allegedly shooting her husband down the hall from their Hollywood apartment last October.

Los Angeles Superior Court Judge Michael D. Abzug denied the defense's request to reduce the charge against 66-year-old Victoria Rathgeb – also known as Victoria Vetri and Angela Dorian – to assault with a deadly weapon.

Rathgeb's husband of 25 years testified that he left the couple's apartment last Oct. 16 after his wife accused him of being unfaithful, and that he was waiting for the building's elevator door to open when he saw his wife out of his peripheral vision about eight feet away.

"Quickly she just aimed and fired at me," Bruce Rathgeb said, telling the judge that he felt burning and stinging on the left side of his body and smelled gunpowder.

He said that his wife then put a small plastic bag in his mouth, which he spit out, and that she walked back to their apartment.

He testified that he passed out and later woke up in the hospital "in terrible pain."

"They tried to take the bullet out. I guess it was close to the heart so they left it in," he said, noting that he has a four-inch scar above his left pectoral muscle and cannot move his fingers on his left hand.

On cross-examination by defense attorney E. John Myers, the woman's husband maintained that he had not been unfaithful to his wife while the two were living separately for a few months before the shooting.

"Twenty-five years, I have never cheated on my wife," Bruce Rathgeb told the judge. "I wasn't going to listen to that all night… I have been true to her for 25 years and that's the truth."

He denied that the two had argued about drugs.

The couple's neighbour, Michael Place, testified that he saw the victim on the floor after hearing a loud noise, and noticed a bullet casing and a small plastic bag nearby.

The defendant was arrested the same day by the Los Angeles Police Department's Hollywood Division and has remained jailed since then on $1.53 million bail, which the judge refused to reduce.

Rathgeb appeared in more than 30 television series and films during the 1960s and 1970s, including the film Rosemary's Baby, and television's Hogan's Heroes, Star Trek, Perry Mason, Bonanza, The Man from U.N.C.L.E. and The Courtship of Eddie's Father.

2011 Incarcerated

Ex-Playmate gets nine years for wounding husband

The Associated Press – September 11, 2011

LOS ANGELES – A former Playboy Playmate of the Year who appeared in the horror movie Rosemary's Baby has been sentenced to nine years in state prison for shooting her husband in the back at their Hollywood apartment.

Sambo

Courtesy of collector William McCullars Ï, an NBC press release dating from the original broadcast names Sambo as the cat who played Isis.

According to Robert Lansing:

"We had three black cats. That was because in those days, the theory was that you couldn't train cats. Cats would have a certain propensity: One would like somebody, would want to follow them around, so that day, you would release the cat that would probably do what you wanted it to do. One of the cats took a great liking to me. It was always loose on the set when I was working, so it happened that the stuff on the rocket gantry was all ad lib. I would say something like, 'Isis, come on, you're getting in the way. You know, there is a bit of a hurry. This is not the time to be jealous.' We added meows in later."

Source: Starlog 149. The full interview can be read by clicking on the thumbnail in the Robert Lansing section.

I think it's safe to say that it was Sambo he developed the working relationship with.

Roddenberry's 1970s Pilots

Genesis II Script
Dec 4, 1972
Gene Roddenberry
PDF

Questor Tapes Script
Dec 12, 1972
Gene Coon
PDF

Spectre Treatment
Undated
Gene Roddenberry
PDF

Spectre Script
Nov 12, 1976
Roddenberry & Peeples
PDF

Spectre Script
Jan 4, 1977
Roddenberry & Peeples
PDF

Apocryphal Book of Tobit
Ancient Text
PDF

Spectre Promo Brochure
1977
Lincoln Enterprises
PDF

Spectre Promo Brochure
1977
Lincoln Enterprises
PDF

Spectre Novel, Cover A
1979
Bantam Books
ePUB

Spectre Novel, Cover B
1979
Bantam Books
ePUB

Spectre Novel, Cover C
1979
Bantam Books
ePUB

Spectre Novel, Cover D
1979
Bantam Books
ePUB

In between the original Star Trek series and Star Trek Phase II (which would become Star Trek - The Motion Picture in 1979), Roddenberry tried to sell three concepts as ongoing series: Genesis II/Planet Earth, The Questor Tapes and Spectre. All three had their merits.